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²ÐÒÓÀËÜÍÀ ÀÍÒÎËÎòß
ÏÎÅDz¯ ÍÜÞ-ÉÎÐÊÑÜÊί ÃÐÓÏÈ
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ÁÎÃÄÀÍ ÐÓÁ×ÀÊ
(1935)
Á³î-á³áë³îãðàô³÷íà äîâ³äêà
ÁÎÃÄÀÍ ÐÓÁ×ÀÊ
Áîãäàí Ðóá÷àê íàðîäèâñÿ â
ãàëèöüêîìó ì³ñòå÷êó Êàëóø³, â
ðîäèí³ êîîïåðàòîðà. ϳä ÷àñ
äðóãî¿ ñâ³òîâî¿ â³éíè
åì³´ðóâàâ ç áàòüêàìè äî
ͳìå÷÷èíè, äå ñïåðøó æèâ ó
Êàóôáîéðåí³, à ïîò³ì ó
ijëë³í´åí³. Ó 1948-îìó ðîö³
ïåðåñåëèâñÿ ç ìàò³ð’þ äî
׳êà´î, â ÑØÀ, äå æèâ ³ â÷èâñÿ
äåÿêèé ÷àñ. ϳçí³øå ïåðå¿õàâ äî
øòàòó Íüþ-Äæåðç³, çäîáóâ
äîêòîðàò ³ç ïîð³âíÿëüíî¿
ë³òåðàòóðè â Ðàò´åðñüêîìó
óí³âåðñèòåò³, äå é âèêëàäàâ.
Ïîâåðíóâøèñü äî ׳êà´î, ïðàöþº
ïðîôåñîðîì ïðè ²ëë³íîéñüêîìó
óí³âåðñèòåò³.
Êð³ì ïîå糿, Ðóá÷àê çàéìàºòüñÿ
ë³òåðàòóðîçíàâñòâîì ³
êðèòèêîþ. Íàäðóêóâàâ ðÿä ïðàöü
³ç öèõ ä³ëÿíîê â óêðà¿íñüê³é é
àíãë³éñüê³é ìîâàõ. ³í òàêîæ º
ñï³âóïîðÿäíèê (ðàçîì ³ç
Áîãäàíîì Áîé÷óêîì) àíòîëî㳿
óêðà¿íñüêî¿ ïîå糿 íà Çàõîä³ “Êîîðäèíàòè”
â äâîõ òîìàõ (Â-âî “Ñó÷àñí³ñòü”,
Ìþíõåí, 1969). Çà ñâîþ ïîåç³þ ³
ë³òåðàòóðîçíàâ÷ó ïðàöþ
îòðèìàâ äâ³ ïðå쳿 “²âàíà
Ôðàíêà” â ׳êà´î (1982 ³ 1986) òà
ïðåì³þ “Ïàâëà Òè÷èíè”
(Êè¿â, 1993) çà îñòàííþ ïîåòè÷íó
êíèãó, ùî ïîÿâèëàñÿ 1991-îãî ðîêó
ó Â-â³ “Äí³ïðî”.
Áîãäàí Ðóá÷àê º ÷ëåíîì Íàö³îíàëüíî¿
Ñï³ëêè Ïèñüìåííèê³â Óêðà¿íè.
ÒÂÎÐײÑÒÜ ÁÎÃÄÀÍÀ ÐÓÁ×ÀÊÀ
ÏÎÅDzß
“Êàì³ííèé ñàä”
(Íüþ-Éîðê–׳êà´î, 1956)
“Ïðîìåíèñòà
çðàäà”
(Íüþ-Éîðê–׳êà´î, 1960)
“ijâ÷èí³ äåç
êðà¿íè”
(Íüþ-Éîðê–׳êà´î, 1963)
“Îñîáèñòà Êë³î”
(Íüþ-Éîðê, 1967)
“Êðèëî ²êàðîâå
– íîâ³ é âèáðàí³ ïîå糿”
(Ìþíõåí–Íüþ-Éîðê, 1983)
“Êðèëî ²êàðîâå”
(Êè¿â, 1991)
вÇͲ
ÂÈÄÀÍÍß
“dzáðàí³ òâîðè”,
Áîãäàí ²ãîð Àíòîíè÷,
ñï³âóïîðÿäíèê ³ç Ñâÿòîñëàâîì
Ãîðäèíñüêèì (Â-âî “Ñëîâî”,
Íüþ-Éîðê, 1967)
“Êîîðäèíàòè”,
àíòîëîã³ÿ ñó÷àñíî¿
óêðà¿íñüêî¿ ïîå糿 íà Çàõîä³,
òîì ² ³ ²², ñï³âóïîðÿäíèê ³ç
Áîãäàíîì Áîé÷óêîì (Â-âî “Ñó÷àñí³ñòü”,
Ìþíõåí, 1969)
“Studies in Ukrainian
Literature” (in “The Annals of the
Ukrainian Academy of Arts and Sciences”, UVAN, New
York, 1986)
ÂÀÆËȲز
ÑÒÀÒÒ²
“Shevchenko’s Profiles and
Masks” (in “Shevchenko and the
Critics”, Ed. G. S. N. Luckyj, University of
Toronto, Toronto, 1981)
“The Music of Satan and the
Bedeviled World” (in Mykhajlo
Kotsjubyns’kyj “Shadows of Forgotten Ancestors”,
trans. M. Carynnyk, Ukrainian Academic Press, Littleton, 1981)
“Reveries of the Earth :
Three Slavic Versions” (in “Poetica
Slavica : Studies in Honor of Z. Folejewski”,
Ed. Clayton Schaarschmidt, The University of Ottawa,
Ottawa, 1981)
“Homes as Shells :
Ukrainian Émigré Poetry” (in “New
Soil – Old Roots : The Ukrainian Experience in
Canada”, Ed. J. Rozumnyj, UVAN, Winnipeg, 1983)
“Taras Shevchenko as an
Émigré Poet” (in “In Working Order :
Essays presented to G. N. S. Luckyj”, Ed. Ralph
Lindheim, CIUS, Edmonton, 1990)
“Because We Have No Time :
Recent Ukrainian Poetry” (journal “Agni”,
Nr. 33, 1991)
“˳òåðàòóðíà
êðèòèêà Ñåðã³ÿ ªôðåìîâà”
(in “125 ðîê³â êè¿âñüêî¿
àêàäåì³÷íî¿ òðàäèö³¿, 1861-1986”,
UVAN, New York, 1993)
“From Strength to Strength :
Observations on Hryhorij Skovoroda and Vasyl Barka” (in
“Hryhorij Savych Skovoroda : An Anthology
of Critical Articles”, Ed. Marshall and Bird,
CIUS, Edmonton, 1994)
“Êàì’ÿí³ áàáè
÷è Ñâ³òîâèä” (æóðíàë “Ñâ³òî-Âèä”,
÷èñëî 23, Êè¿â–Íüþ-Éîðê, 1996)
“Ïîòàëà
íåùàäíèõ ñïðàã – Ïðî ðàííþ ïîåç³þ Ìàëàíþêà” (æóðíàë
“Ñâ³òî-Âèä”, ÷èñëî 29,
Êè¿â–Íüþ-Éîðê, 1997)
Ðîìàí Áàáîâàë, 2003
- © Áîãäàí Ðóá÷àê — àâòîð â³ðø³â.
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